I know i have mentioned this before , but why do they only tell you who is dancing the lead parts?I would love to know who is doing what in the character parts i.e the grandfather , Dr.Stalhbaum , Drosselmeyer etc,etc.I know that they can't mention everyone ( except in the programme ), a few more names wouldn't hurt though!

SPF, it's worth trying to email their website's webmaster and asking - in the past they've responded by posting additional casting very quickly. I agree, I'd love to know who the Claras and Hans Peters are.

Incidental pleasures were the grace and beauty of Elizabeth McGorian as Frau Stahlbaum, the child Fritz played in liveliest style by Tao Dubreuil (son of that splendid dancer Alain Dubreuil), the happy way in which the ensemble played, the real charm and elegant dancing of Ricardo Cervera as the Nutcracker.

In his version for the Royal Ballet, Peter Wright tries hard - and largely manages - to mould the story into some sort of sense by linking Acts 1 and 2. He puts the toy-maker-cum-magician Drosselmeyer centre-stage, and makes the first act his successful attempt to get Clara to free his nephew from the curse that has turned him into a Nussknacker; the second act is his reward to her. Wright also has Clara and Hans-Peter join in with the Act 2 showpieces, and rounds off the story to a neat coda.

Productions vary dramatically in how they brand their infants, ranging from contemporary brats to winsome angels. But this year the kids at the Royal have got it just right. Tao Dubreuil as Fritz led the boys with a glint of wickedness and the teeniest suggestion that he may suddenly give his mate a high five. The girls danced with adorable delicacy without ever looking cute.

Peter Wright’s evergreen staging for the Royal Ballet is the king of Nutcrackers. Defiantly traditional, visually grand and sparkling with magic and romance, it’s everything The Nutcracker should be. What better way for ballet lovers to usher in the festive season?

Wright’s production, which returned to the Royal Opera House on Tuesday night, presents us with a vision of domestic harmony in a 19th-century Nuremberg magnificently evoked by the late Julia Trevelyan Oman.

It's a crackerThe Royal Ballet toys with the fragility of happiness. By Jann Parry for The Observer.

The Royal Ballet's production of The Nutcracker, first mounted by Peter Wright in 1984, appears to be safely traditional, set in a fairy-tale past when children were still children and grown-ups didn't grope each other at Christmas parties.

Julia Trevelyan Oman's designs place the Stahlbaum family party in quaint old Nuremberg, famed for its gingerbread and clockwork toys.

The magic is flying highIt’s Nutcracker time again, and the Royal Ballet’s confection still has David Dougill under its spell. From The Sunday Times.

Christmas is a-coming, and with it the clarion call for ballet companies the world over to unwrap The Nutcracker for its latest festive outing.

None of its original creators — Tchaikovsky the composer, Petipa the scenarist, Ivanov the choreographer — could have imagined, from its cool reception in St Petersburg in 1892, that they had come up with what was to be the most popular ballet of all time.

The NutcrackerIt’s largely Tchaikovsky’s music that explains the packed houses at Covent Garden for The Nutcracker. By John Percival for The Stage.

Perfect for dance and for the simple story and you can’t help liking it however often it comes up. The ROH Orchestra under Valery Ovsyanikov gave a fair account of it on opening night but did not sparkle.

Though The Nutcracker's scenario is never really satisfactory, it prevails
as a family Christmas treat because everyone knows at least one tune from
Tchaikovsky's score. He introduced the tinkling celesta as a novel accompaniment
for the Sugar Plum Fairy's dance, a tune in practically every merry muzak
compilation going.

The jewel in the crownRupert Pennefather is the Royal Ballet’s great blond hope — and thank heavens, he’s British. Clifford Bishop meets a prince whose day has definitely come.

Forget ospreys or eagle owls: anyone heading along to the Royal Opera House this Christmas has a chance to make one of the rarest sightings available on these shores — a young British dancer in the principal role of a three-act classical ballet.

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